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Beedster

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Everything posted by Beedster

  1. Beedster
    .....and your point is........ I've been doing some crude bi-amping recently using these two cabs (to all intents a Mesa 1516 albeit in two cab form), a bit of width to the sound field would be fun
  2. Beedster
    I think @MattM takes credit for the quality and aesthetics of the bass, much as I'd like to 👍
  3. Beedster
    A recent purchase from BC.... Original listing with more pics here..... It's a bloody lovely bass but mechanically and sonically too similar to my Warmoth FL to keep both (and I have allowed my bass collection to expand again). My memories of just how fast the Tony Franklin neck is, as well as the stunning '78 body, were my main basis for buying it, and I wasn't disappointed by either! I've rehearsed it three times and over and above being a very nice bass in terms of playability and core tone, the Geezers - which I've not played before - were a very pleasant surprise, bringing both a wide range of tones as well as being very responsive to playing dynamics, which i find even more important on an FL than on a fretted (all of this helped by the VTT controls which are WAY more useful than those on the Franklin sig). There's a very big part of me wants to put a maple fretless neck on it, but I'm trying to be sensible Collection/meet-up always preferred (I'm in Whitstable/Canterbury and travel to London regularly), especially if you like a bass gear chat over a beer! Courier is of course an option as there is a hard case of sorts that can protect the bass from even the most determined driver (I exclude EVRI of course) No trades thank you. Unless you've got a Mesa all-tube head.......... 👍
  4. Beedster
    I'd love to try one of those, I've never seen one for sale used which suggests either there are very few of them or that those who have them hold on to them https://ashdownmusic.com/blogs/news/ashdown-cl-310dh?srsltid=AfmBOooR8Y_h0ZUB_tG64MKp25dBRC3KYvQyT4JjuqucthwsgkJg8aJw I also suspect if I had one I'd want two
  5. Beedster
    All of the above are true, but taking the middle point, IME most studios are businesses, while most people acquiring vintage gear are either individuals or businesses looking to sell to those individuals. All the studios I've worked in over the last ten years or so - while using quality old school mics and desks - have been using digital processors, largely because thy cost less, require less space, don't require constant maintenance, are easier to integrate into workflow, and ultimately sound pretty much the same to 99.9% of the paying audience the studio (or more specifically the people paying the studio) are catering for. My gut feel is also that even given potential investment value, a lot of people will stay away from electronic gear simply because of the vagaries of electronics; when a Precision Bass goes wrong even an idiot like me can fix pretty much everything with the possible exception of a sudden and dramatic neck bow (which I once experienced with a 80's Fender), so wood and metal instruments feel quite safe in that respect. I'm not saying that electronic gear won't appreciate in the same way as instruments, but I suspect the market will be much smaller because of higher risks and lower returns. Also, when it comes to decor, a tin box with knobs on doesn't ever look quite as sexy as a '59 Precision
  6. Beedster
    Perhaps as is the case with many orchestral instruments, and as raw materials become too expensive and in some cases prohibited, the quality of an electric/electronic instrument will win out over it's emotional/cultural value?
  7. Beedster
    You get the sense that this seller has trawled celebrity auctions for decades, each time bidding on the items none of the other bidders wanted. It makes you feel a little unwell looking at them......
  8. Beedster
    I guess the sad truth is that if you offer it for sale some prat will buy it. whatever it is
  9. Beedster
    This is a bass forum
  10. Beedster
    I guess their view would be "How are we supposed to know without taking the bass apart and checking everything", which I kinda get because there's a big cost in time - and I'd guess risk of damage - to do that with every instrument they get in trade/PX (and as well all know, with old Fenders there are a lot of variables and nuances). But yes, on this basis their initial response could have been "OK, we're sorry to hear that, we'll refund you and return the item to the seller as clearly not what he described it as to us". As is hinted at above, there are no doubt a lot of players out there with instruments that are not what they think they are because unlike some of us, they assume that the shop has done the due diligence
  11. Beedster
    I had a tense standoff with a shop a few years back, very Fistful of Dollars (that's me walking to the shop in the pic below), about the fact that a bass they'd sold me wasn't what they'd said it was. Their initial stance was - this make you laugh - that it was a consignment sale so I needed to take it up with the original owner who'd clearly not told them the truth. Following a terse email this moved to 'We'll speak to the original owner and see if there's been a mistake' to 'OK, we'll refund you' following another email that pointed out that I'd paid them not the original owner etc. But what I was really surprised by was the fact that not only they hadn't checked the credentials of this particular bass, but that it was clear they routinely take the seller's word for it on all their consignment sales. I guess they get away with it more times than not ....
  12. Beedster
    Completely agree 👍
  13. Beedster
    I’ve seen upright players do equally daft things at shows……
  14. Beedster
    Hence my avatar, one of the all-time great upright performances 🙂 In all seriousness, Tom’s technique is and always has been underrated, we should discuss it further here 👍
  15. Beedster
    That might have been a little ambiguous …. What I should have said is that a seller asking £2k for a bass should have some idea what it is, and that irrespective of anything else, that he doesn’t know would be the deal breaker for me 👍
  16. Beedster
    I wouldn’t waste any more time on it mate sorry 😕
  17. Beedster
    He didn’t know….. 😆
  18. Beedster
    I completely agree 👍
  19. Beedster
    Nicely put, I often feel that fretlines are to all intents shouting 'Hey, we're the notes, don't you go anywhere else....."
  20. Beedster
    Agreed Lawrie. It's going to be interesting to see the effects of Trump on people's emotions towards US goods, even legacy ones. 80's Japanese Fenders might ramp up in value even more than they have recently, which given they are of equal or better quality than many US Fenders - certainly 70's Fenders - would also represent a legitimate correction. I also suspect 70's MIJ instruments generally will start to creep up, I've played many that were likewise significantly better than Fenders of the same era at 10% of the price (calling @Bassassin......)
  21. Beedster
    I'm very surprised there are no UK authorised service engineers, but am sure Andy @agedhorse will be along to help and advise 👍
  22. Beedster
    That's a really interesting point, perhaps the market isn't really there after all, or at least thos who need them have largely got them, and needs have moved on? It'll be interesting to see if they do. And those Klos necks look lovely I remember seeing some really badly warped graphite necks, IIRC at least one of them was on an MM Cutlass. Interested in two points, firstly why do they have to be 'not too stiff', and in what way were the neck over-designed?
  23. Beedster
    Wow, that's a lot of high quality bass gear for not a lot of cash, I had that same set up about 10 years ago and paid around twice the asking price here (and it was still very good value for mone) 👍
  24. Beedster
    Given how well regarded Status necks are - there must have been thousands built and they only very rarely come up for sale meaning that those who have them hold on to them (plus there are always one or two people looking for them) - I wonder whether any other manufacturer will pick up the reins and either buy that part of the business from Status or start from scratch?
  25. Beedster
    I found that the tone I ended up with using EBMMs was achieved using either old/dull rounds or brightish flats, tolling back the highs and the lows a little (on 2EQ models), and tonal heaven. Because it sounded more like a Precision
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